Nikhil Thakur is a patron of the arts and a member of the Chhandam family. He is an IT professional, philosopher, and a follower of the teachings of Pandit Chitresh Das. In his spare time, Nikhil enjoys science fiction and women’s softball.

[Pandit Chitresh Das] was a genius. The choreography and music of each show was distinctly different and driven by his desire to go deeper into concepts that fascinated him. Concepts around spirituality, knowledge and he was forever seeking to discover more about the human condition. He delved deeply into the Indian tradition and had such depth of knowledge that there was never a need or desire to pander to Western audiences—he was just so fearless. And then, of course, there’s the amazing variety—from ‘Pancha Jati’ to ‘Yatra’ to ‘Sita Haran’, from ‘Darbar’ to ‘India Jazz Suites’ to ‘Shiva’—each one is unique, each one is exceptional. –Celine Schein Das

As the musicians enter more deeply into a trance while playing their special brand of Indian rock and roll, the forces of the underworld are slowly summoned. The sitar, sarod, tabla and vocals are tuned in a way so as to illuminate the difference between traditional Vedic asceticism and the Left-handed path of Tantric embodiment, of form and formlessness, of light and darkness.

Constant, steady and unchanging, the Ascetic walks along the borderland of these worlds in order to appease the shadow of the god Shiva so that a balance between this world and another world, between order and chaos, might be maintained.

Meanwhile, the four ghouls that come from the plane of the Dravidian zombie-land have revealed other plans as they seek to disrupt the precarious harmony that exists between and amongst creation, destruction and re-birth.

All of these instances of universal human sloppiness serve to enrage Shiva, whose anger is manifested on the Earthly plane as an uncontrollable wildfire. And yet, at the same time, it is Shiva’s flame that supplies the force designed to produce the glow that will remove the barriers which cloud a human vision that remains spellbound behind a veil of avidya that is poisoned by ignorance.

This is SHIVA, the story of a menacing, cosmic dance, brought to you by the good people at Chitresh Das Dance Company. Throughout this performance, an array of characters vie for supremacy in a mad scramble for power as they engage in the black lila of the making, taking and breaking that has ensued in the firmament.

We witness a Tantric yogi, with questionable intentions, being tempted by a couple of mischievous spirits who have ascended from the depths of a Narakan hell for the sole purpose of distracting, deterring and de-railing the already confused practice of the yogi who has ventured into a land that is forbidden to mortals. The undeviating Ascetic is most dismayed by this unfolding of events as (s)he becomes compelled to intervene in order to restore a sense of equanimity to the situation so that Shiva’s steady flame can be allowed to sustain its blaze.

After great trial and tribulation, the trickster spirits are expelled, the yogi regains his faculties, and the god Shiva is satisfied for the time being. The winter of Sati gives way to the springtime of Madhan, Rati and Parvati. And for another season at least, the bitter cold is re-created in a different shape, as the warmth of the welcome sunshine.

And in this same way, as the winter prepares to turn to spring next year, the artists of Chhandam will present to you another blessed (and slightly re-envisioned) manifestation of this dazzling show, of SHIVA.

So mark your calendars and make your plans to attend now, because the last thing you want to do is miss this show and provoke the ire of the god of destruction who would become extremely displeased should you be absent.

I began studying at Chhandam around 9 years ago. I still remember feeling very, very overwhelmed as I tried to make my arms and legs do what I wanted them to do on that first day. Not to mention that I was probably the smallest person in my Teens and Adults class. Why was nine-year-old me enrolled in a T/A 1A class? I don’t really know. But as Dadaji would say, “What is this 1B, 2C, 3Z?” All that matters is that I learned so much in those first few years and came to enjoy the extra push of being surrounded by more mature dancers.

When did you join Youth Company?

I joined Chhandam Youth Dance Company two and a half years after that first class, in 2009. Being able to study with Dadaji and his senior disciples Charlotte Didi, Seibi Didi, and Rachna Didi was an incredible push but also an opportunity for so much growth. And of course, having the community of older YC girls as mentors, and my peers as close friends and supporters, has made the experience all the more valuable.

How has your study with Dadaji most affected your life?

I’ve always thought of Dadaji as somehow timeless or ageless. He embodied the energy and spirit and playfulness of a little boy, and yet he carried the wisdom of an old, old man. And just the same, when he talked to a classroom of sweaty teenage girls, he became one of us ― or at the very least, the older brother who understood on a very deep level the nuances of that period of life. As seamlessly as he transformed character in his abhinaya, Dadaji could slip in and out of our minds and watch the world through our eyes. And so when Dadaji imparted the knowledge of the dance, he was imparting it along with a deep sense of what it means to be us. And he taught us, quite simply, to own it. Many different times, and in many different words, Dadaji taught me to own myself. Own yourself, he said, when you pick up your instrument or raise your voice to the drone of the tampura and practice kathak yoga. Own yourself even in your most vulnerable moments, in your mistakes, in your pain and in your grief. Dadaji allowed me to take ownership of my identity ― though that’s not to say that I know my identity. To “know” myself, truly, will take a lifetime, but Dadaji invited me to at least take a peek, to embrace even the not-knowing.

What has changed over the last five months for you as a person/dancer/artist?

Now I’m in that place of awkward “in-betweenness” ― one foot planted in the security of my first eighteen years, one foot practically running out the door, and one foot (yes, I will adopt a third foot for the sake of this analogy) tapping away nervously on the dance studio floor, wondering how often it will get to do that. And I wish very, very often that Dadaji were here, arms folded over the front of his black t-shirt, to study my three feet and then dare me to get up and walk (or worse still, to do tatkar).

Then I realize that he already has. You see, he didn’t hand me the tools to walk ― he showed me the tools I had. He showed me how to use the power of being myself to connect with others and create change, to be in my most natural space when challenging myself and the world around me, to tell people to “take it or leave it.” Most importantly, this restless multi-footed time of life has reminded me to love and be all the more thankful for the love and support of my amazing family, friends, the dance community, and the future my foot will meet outside the door.

On a related note: I am a historically “quiet” person ― and not because I don’t have things to say, I’ve realized. It’s because I like to listen, and because I like to please people. I tread around my words and sometimes tread around myself. But I’ve begun to realize that treading makes me unhappy and prevents me from making real connections ― and Dadaji has always reminded us to walk forward, with our heads up, with happiness.

That combination of instinctual sensitivity and inculcated confidence is so freeing. As I stood alone on stage the night of my solo performance, it was liberating to realize that I could just leave all the talking to this girl named Mayuka Sarukkai and get on with the program ― what a concept! I hadn’t prepared my speaking as much as I should, but that meant I was free to say all the crazy things that came to my lips (yes, even the ones that would serve as head-banging embarrassments in the aftermath); because up on that stage I am a full-force exhibition of me and my strengths and my vulnerabilities, and nothing less. Mistakes and emotional moments and all, I was empowered by those words: take me, or leave me.

That attitude has also made feel more personally and emotionally invested in the dance and in Chhandam: it makes me feel like I have a voice, and with it, a greater responsibility towards the art form and the community that surrounds it. In the end, preparing for the solo performance wasn’t at all about reaching a certain level of dance ― it was an opportunity and a challenge to think deeply about some message I wanted to share with my audience, and then to use what little I know of the dance form, and about myself, to say it.

Where are you attending college and what do you think you will pursue?

I’m excited to call Stanford my home for the next four years. I am thinking of pursuing one of Stanford’s interdisciplinary majors called Symbolic Systems, which explores how different systems (minds/brains, computer systems, language) represent information and communicate in different ways through the lens of cognitive science, computer science, psychology, philosophy, mathematics, and linguistics ― some of my favorite subjects!

What advice do you have for all the young dancers who are studying kathak with Chhandam or considering it?

Listen to yourself. If dance makes you happy, ask yourself why it does. If you feel uncomfortable with something you learned about your identity through the dance ― as an Indian American, as a student, as a teenager ― take a moment to understand that discomfort and try to learn from it. If you are hurting, listen to your body. And if you feel discouraged, listen to your frustration but let it push you forward, not back. In the end, only you know you ― your parents and your community do so much to give you the resources and opportunities they think you need, but only you can decide what makes you happy.

Talk to others. When you are a part of Chhandam, you are a member of a rich community ― so take advantage of all the opportunities to interact! Get to know your guru-sisters, keep up an open conversation with your mentors and teachers about your progress and your concerns, talk to your parents about your experiences, attend as many performances as you possibly can, and talk to all of your friends and family outside of Chhandam about the awesomeness of the dance form you learn.

And if you are considering Chhandam, the same advice applies. Joining Chhandam was one of the [many] best decisions my mom made (thank you, mom!), but engaging with Chhandam was one of the best decisions I made. When you take the leap of faith and enter your first Chhandam class, remember that you are about to study a classical art form that requires connecting beyond the hour a week you spend in the dance studio. That connection will take time ― and can be rough ― but remember to stay in touch with yourself and with the community around you as you embark on that journey.

What is the most valuable thing an organization like Chhandam can give to the youth in its community, whether they are dancers or not?

In the end, Chhandam is an education organization ― and providing an exposure to the arts to the greater community can give youth the empowering feeling that “hey, we can do this too.” The art form is about telling stories, moving the body, feeling ― those are things that kids do best, and when they channel their energy into a classical art form like this, they are learning to connect their inner “dance instincts” with a culture and heritage that is both ancient and modern at once. Every youth who watches a performance or takes a class or even hears about Kathak at school from a friend is on his or her way to becoming a more open-minded, creative thinker with a heightened awareness of Indian culture and the ways to connect to it physically, mentally, emotionally, even spiritually.

Any thoughts you would like to share with your fellow YC Members, friends, family?

]]>https://kathaka.wordpress.com/2015/09/04/own-yourself-mayuka-sarukkai/feed/0Mayuka_PhotoShootPic2kathakaKathak is an ocean – Nikhita Hazarihttps://kathaka.wordpress.com/2015/08/28/kathak-is-an-ocean-nikhita-hazari/
https://kathaka.wordpress.com/2015/08/28/kathak-is-an-ocean-nikhita-hazari/#respondFri, 28 Aug 2015 16:37:22 +0000http://kathaka.wordpress.com/?p=3146]]>I don’t think I take enough time out of the day to tell the people I’m thinking about, that I’m thinking about them. I just sit there quietly going over the thoughts in my head, but never actually speak any of them – except for on the rarest of occasions, I suppose. One of the communities that I constantly think about, and owe the biggest “thank you” to is Chhandam. I can’t even begin to describe the lessons that I’ve learned and the opportunities that I have gotten from my 13 years at this institution. I know that no blog post or essay or anything really will be enough to show how much Chhandam has impacted my life, (in a positive light of course!) but I’d really like to share what I’ve taken back from this art form as I’ve grown.

Thank you for helping me connect to my roots.

As I learned this weekend at Chhandam’s annual retreat, “Kathak is an ocean.” With oceanic waters comes immensity, and with immensity comes a vast array of knowledge. It isn’t often that you get the chance to delve deeper into your culture’s history, philosophy, math, and art but at Chhandam, they are simultaneously in action. Being an “American born confident desi” is something that I take great pride in. From the food we eat, to the clothes we wear, and the music we listen to, I owe most of my appreciation about my culture and heritage to Chhandam.

Thank you for teaching me about healthy competition.

I’ve never really been the type to enjoy competition, ever. I become afraid of failure, and everyone being so much better than me. What I’ve come to learn though, is, it’s okay to fail. And, it’s okay if people are better than you. There always will be someone that is. The important thing is how you use that failure to self-motivate and become the best version of yourself, possible. One more thing. Healthy competition doesn’t always have to be against your peers. In fact, my favorite way to compete is against myself, because I’m my toughest critic. We can always strive to do better than what we’ve produced thus far, and if we keep going we can create something that we didn’t even know we were capable of. And that right there, is SUCH an awesome feeling. Knowing you’re worth something feels great, and being able to attain it within yourself feels even greater.

Thank you for teaching me that our bodies can take as much as our mind allows it to, and then some.

At the retreat last weekend, I remember Seibi Didi talking about how people generally don’t do enough footwork. She explained that we keep pounding out the sounds until it’s “good enough,” or until we think we’ve exhausted ourselves…but that’s just the beginning! She told us that if we kept going for a couple more cycles, eventually, we would reach a state of fatigue that would essentially numb the pain that we feel. So, we could do footwork for hours on end. This is just one out of the many instances that our bodies can be pushed past a limit we set for ourselves, and succeed. Throughout the years, becoming aware of this has helped me get to where I want to be physically, much more quickly.

Thank you for teaching me about grief, and how to overcome it.

So, this year has been a little rough on all of us. (“Little” is the biggest understatement of the year.) I found this one quote that I felt I really resonated with for a while. It went, “Grief is just the period of time it takes for your brain to accept that someone is gone. Because everything in your body, your mind, your whole being just goes back to the moment they were still alive. It takes a long time for your body to forget that.” That made me feel really, really upset. I felt like I would never not be depressed, not be regretful, of the things that could’ve been. Soon after though, I came across another quote that helped me process things a little more positively. It went, “I believe in the gift of pain. I believe that loss deepens us. I am grateful for God’s graciousness toward me that he would teach me these things. As much as I hate to admit it, I’ve found a new gratitude, and it’s gratitude for the way God has redeemed darkness and pain, for the way he brings something beautiful out of something horrible.” This wasn’t the first time I had heard some form of that reasoning. Celine Didi first said to us that Dadaji knew we couldn’t grow as an institution if he was still here. He had given us all the tools we needed, now it was just time to put them to good use. Even though it was that last quote that really helped solidify the idea of “the good in the bad,” it was Chhandam who laid out the foundation for thinking in that positive manner, and for that I will forever be grateful.

And last, but most definitely not the least…

Thank you for teaching me the importance of being a good human being.

Chhandam’s first principle is “Sadvyavhar aur tehzeeb,” meaning attitude and etiquette. We’ve been taught that the way we enter a room, is more important than anything that we produce on the dance floor. We have also been taught that “Mother is the first guru, and father is the second.” Respect, humility, selflessness, and service to others have repeatedly been mentioned not only by Dadaji, but also by every single teacher apart of the Chhandam staff. It is said that once something is repeated enough times, it becomes ingrained in your mind. I am so thankful that from a young age, I have been told to emphasize these values because now, these values are what I think of first when approaching a new situation.

For those of you who were at the retreat this Sunday, you’ll know that this post is a whole lot more than I was able to speak at the last dinner we ate together. I was really at a loss for words, and filled to the top of my emotional capacity. Knowing that kathak has been my stabilizer, and the thing that I always come back to, I felt a pang of sadness. As I embark on my new journey, at college, I know that kathak won’t be as consistent, and that really scared me. As I had time to reflect though, I realized that I would never truly be letting go. Chhandam will always be there for me, as I will always be there for all of the amazing people I have met through it. For those of you still reading, thank you so much for allowing me to share my thoughts with you, and of course I can’t forget, namashkar.

Menlo School’s International Fair celebrates the diversity of cultures on campus. Photo by Pete Zivkov.

When did you begin your study of Kathak with Chhandam?

I began studying Kathak approximately 9 years ago (3rd grade).

When did you join the CYDC and why?

I joined CYDC in 2009 (7th grade). I joined youth company because I had already been dancing for three years and I was looking for a more challenging environment with higher expectations and a faster pace. Furthermore, CYDC members have self-selected to audition and commit to dance, and I wanted to be surrounded by dancers who were serious about their Chhandam education. Obviously YC also opened the door to numerous invaluable resources including Dadaji, his senior disciples, more class opportunities, and more performance opportunities.

How has your study with Dadaji most affected your life?

Dadaji taught me to support my words with my actions. From respecting people, to practicing, to healthy eating, he always fully embodied whatever he spoke about. Dadaji also taught me about self-confidence, ambition, and the importance of humility.

What has changed over the last five months for you as a person/dancer/ artist?

This year, I am moving away from all of the people who have watched me grow up and who have shaped the person that I’ve become. I will be leaving my family, friends, Chhandam, and other people whose presence I’ve grown accustomed to. My attitude towards relationships has changed over the past five months. I’ve put more effort into making the most of my time with people, being patient and positive with siblings, and expressing my appreciation for the people who’ve helped me reach where I am.

You’ll be graduating high school this year. Where will you go to college and what do you think you will pursue?

Beginning next year, I will attend the University of Pennsylvania, one of eight ivy league schools on the east coast. Within UPenn, I am a part of the Vagelos Molecular Life Scholars program. Approximately 50 students from the Penn undergraduate applicant pool are invited to the program. I am particularly interested in physics and have spent my past two summers conducting research in both an atmospheric physics and explosives physics labs. I also want to incorporate computer science, biology, and economics into my undergraduate studies. I’m not sure what I want to pursue after college, but I am considering surgery, tech startups, or investment banking. These are all very different fields, but as I still have a while before I need to decide for sure, I am exploring my options.

What advice do you have for all the young dancers who are studying Kathak with Chhandam or considering it?

For new dancers at Chhandam: Attend lots of performances (not just the ones you are dancing in); stay present in class and teachers will respond with the same interest; and find people in your classes to meet up and practice with, because initially it can be hard to motivate yourself.

People considering Kathak: Despite all of my aversions, my mom pushed me to attend my first Kathak classes at nine years old. Aside from dressing up on major Indian holidays and visiting my grandparents in India once every two years, I was more or less removed from my Indian roots. My first year at Chhandam brought forth a sense of motivation to learn more about my heritage. Through expressing stories from revered Indian texts and depicting characters who are fundamental to India’s identity, I have learned a lot about Indian values, culture, and tradition. In addition, the most powerful aspect of being a part of Chhandam is the sense of community. Chhandam has introduced me to some of my greatest friends and mentors.

What is the most valuable thing an organization like Chhandam can give to its community, whether they are dancers or not?

In America, from cartoons such as the Simpsons or Phineas and Ferb, to shows such as the Big Bang Theory, How I Met Your Mother, and Disney’s Jessie, South Asian characters are heavily stereotyped. Additionally, Bollywood is often the first thing people think of when it comes to Indian culture. Through expanding its presence, Chhandam has the power to revolutionize how people in the Bay Area perceive Indian culture.

Any thoughts you would like to share with your fellow YC Members, friends, family?

I began learning Kathak at Chhandam in 2002 when I was five years old. My older sister Rasika was already taking classes at Chhandam, and she really enjoyed it. I used to watch her practice and was very excited to join as well.

When did you join the CYDC?

I joined the CYDC in 2008, the sixth year since its inception.

How has your study with Dadaji most affected your life?

I am very thankful that I had the opportunity to learn from Dadaji as part of Youth Company. He inspired so much confidence in us and he believed that each one of us could rise up to our potential. He taught us so much more than just dance. Dadajii encouraged us to learn more about our culture, to connect with our heritage. During class Dadaji would open our minds, posing questions about the arts and education and he would encourage us to expand our horizons. Often Dadaji would say, “you come alone you go alone,” and “life is upaj, improvisation” with a twinkle in his eye. As I go on to college, his words and his teachings will stay with me.

What has changed over the last five months for you as an artist?

As I’ve prepared for my solo in the last five months, dance has become a much larger part of my life. I realized that it is not only important to learn the dance but also to study it and go deeper into the art form. In addition to my practice, I’ve explored the evolution of kathak dance, the history of Indian Classical music, and the mythology behind the stories I will be depicting in performance. I’ve dug deep within myself. Dadaji always used to say that knowledge of kathak goes beyond just dance – it requires understanding of history, mathematics, philosophy, and music.

You’ll be graduating high school this year. Where will you go to college and what do you think you will pursue?

I’ll be going to the University of Southern California with a Presidential Merit Scholarship. I will be pursuing an engineering degree in Computer Science. I am really excited to be going to Los Angeles! It is such a vibrant city with incredible opportunities in the arts.

What advice do you have for all the young dancers who are studying Kathak with Chhandam or considering it?

Believe in yourself, with practice, you can do it! I remember when I was a little girl I couldn’t land the twenty-seven chakkars. Dadaji said, “If not today, you will get it tomorrow!”

Start developing a riyaaz, and every time you practice work on perfecting something that is difficult.

Do what gives you happiness and really put your heart into it.

What is the most valuable thing an organization like Chhandam can give to the youth in its community, whether they are dancers or not?

Chhandam brings people together to celebrate and preserve Kathak dance. We are lucky to have organizations like Chhandam that continue to educate, promote, and preserve Kathak and other cultural art. Our generation is fortunate to have exposure to such ancient art forms and experience their evolution, and it is a gift that we will share with the next generation.

Any thoughts you would like to share with your fellow YC members,
friends, family?

Thank you so much for your love, support, and encouragement through the years.

]]>https://kathaka.wordpress.com/2015/07/02/graduating-senior-yc-spotlight-sneha-patkar/feed/0Photo ShootkathakaPhoto ShootLeela Institute for the Arts, Founder, Rina Mehtahttps://kathaka.wordpress.com/2014/12/14/leela-institute-for-the-arts-founded-by-la-branch-director-rina-mehta/
https://kathaka.wordpress.com/2014/12/14/leela-institute-for-the-arts-founded-by-la-branch-director-rina-mehta/#respondSun, 14 Dec 2014 21:55:00 +0000http://kathaka.wordpress.com/?p=3178]]>One of the new initiatives we are most excited about in 2015 is the creation of the Leela Institute for the Arts in the Los Angeles area, founded by our own LA branch director, Rina Mehta. The Los Angeles branch of the Chhandam School of Kathak dance was founded in 2008. But, starting in 2015, the branch will formally become a new non-profit organization, and an integral foundation of the newly formed Leela Institute for the Arts. We had the chance to speak with Rina Mehta; read ahead for more details on the transition and vision for the Leela Institute!

Q: Can you tell us a little bit about your journey in LA so far, and where the branch is headed?

A: We launched the LA program in 2008. Officially though, we were doing work in the LA area since 2005. My family is here in LA and through many community connections we worked to partner with Indian organizations to present performances. [We presented] either Company members or productions as of 2006. Our work was to co-present performances that helped raise awareness in the community about what kathak dance is.

With the support from the James Irvine Foundation, we created a branch in LA. We started small, continued to do performances- both on a community and large scale level and grew step by step.

From 2008-2010 I commuted to LA, teaching every other weekend. Ritu Mathur was the other key person instrumental in maintaining the branch and getting LA up and running. In 2010 I moved to LA and started working full time. Today, we have classes in 3 locations across the Greater LA area, with 65 students- a very dedicated student body. The level of the dance in the school is increasing. We have continued to do performances and partnered with cornerstone organizations to present very high level artistic productions. The last year we partnered with Dance Camera Film and presented Upaj, and partnered to present Pancha Jati. We have been able to have a really major impact.

As we began to think about the growth of the school, one of the things that we needed was funding. Because our 501(c)3 was based in SF, we weren’t eligible for funding from local government organizations and given how much potential there is for growth, engagement needs to be grounded in the local and unique LA community.

Q: What is your vision for the LA school, and what do you think it will look like?

A: It’s a collective vision, not just mine. I have been in conversations with others and the vision is responsive to what the community needs. The school is at the top on our list. And we are making sure that we are providing the highest caliber education possible to the next generation of kathak dancers. Guruji’s guidance has provided us with a path that we can follow. We would like to grow the school, establish and maintain a high standard of our school in the dance for sure, and then expand the scope of our education.

Q: Which program are you working to develop first?

A: We are working to solidify and expand the Kathak program. We are now beginning to integrate musical education where possible. [We have] workshops, and are working on integrating music education into the curriculum. Curriculum development is a topic that all of the branches are working on. We are all a part of an ongoing global conversation.

Q: Where did this inspiration/idea come from?

A: From my experience as a teacher; as well as the training that I received from Guruji. His students have been successful because of the cross education and training in music and language. Our goal is to provide really high caliber education. There are so many slokas that we learn and understand. How do you teach a bhajan to a student when they don’t speak the language and can’t speak the words they are reciting? I talked to the community and realized that these students WANT to learn and are enrolled in language classes so that they can understand the art. The response and feedback from the community has been inspiring.

Q: What has Dadaji’s involvement been through this process?

A: I think we’re very lucky that there is a precedence with Gretchendi starting a school in Boston, and Joanna in Toronto. It’s a natural evolution for Chhandam. Guruji has been involved in this process since day 1, he was the one who told me to start a branch in LA. He even came up with the new name for the institution. I don’t think it’s a matter of involvement but rather of evolution and where things need to go. One of the things that we all believe is that a person’s education in kathak is best served by getting as much direct exposure to and training from Guruji himself and other senior disciples. To that end, it is our commitment to provide the best learning environment and opportunities to learn from Guruji as possible.

Q: How will you facilitate residencies/exchanges? What types of exchanges are you planning?

A: As soon as we are able to, we are looking forward to hosting residencies with Guruji, Gretchen, Seibi, Charlotte, and also more junior teachers like Seema and Rachna. We would like to take our students, travel and visit other locations and participate in their programs.

Q: How did you come up with the name of the institution?

A:The name is the Leela Institute for the Arts. I was in conversation with Guruji and my mom, as we were playing around with the name, my grandmother came up. The conversation came about and I was talking to my mother, and what an incredible influence the women of my grandmother’s generation have had. The people I was thinking about are my grandmothers and Guruji’s mother. I was thinking about how I wanted the spirit of these women to be an integral part of the organization, and I want to honor that lineage as well as the legacy of the dance. I discussed that concept with Guruji as well. My grandmothers’ names are Rukmani Devi and Leelabati. Leela also means divine spirit of play, and is associated with the arts. We naturally found ourselves at Leela as the name. We definitely wanted it to be a group, so we opted for the Institute for the Arts. The important piece of the story is we were looking for ways to honor these amazing women who are pioneers and visionaries who have contributed so much to our wellbeing and livelihood.

Q: How can we be involved?

A: We would love to have all of you come and visit! We would be honored for people to come see our school, spend time with our community, dance with us, and drink with us.

Q: Can you tell me a little bit about yourself?

A: I began studying at Chhandam and with Guruji in 2000. I’ve always had a really intense thirst for knowledge and studying under Guruji allowed me to get a deep understanding, training and knowledge in the kathak tradition. In the Bay Area I was a teacher at Chhandam and a member of the CDDC. I did my solo performance in 2010 in LA. I think that my study with Guruji, and my life as a dancer began when I moved to LA. In LA I had to walk the path of an artist on my own and reflect deeply about the training I received. I did my Fulbright in kathak last year, created my own story about Chandanbala. I was one of the first at CDDC to create my own story under Guruji’s guidance. Being in LA is making me into the kind of dancer I want to be, by reinforcing the value and richness of the training I have received. Ultimately all of our journeys are alone, even though we have people that love and support us along the way, we must decide on our own who we are and the impact we want to have on society. Truly advancing the art has to be grounded in service, it has to be part of a vision of making society better. Guruji taught me all of this when I was in the Bay Area, but didn’t truly learn any of it until I was here in LA. It is exhilarating. On the physical plane I am exhausted all the time, mind and body are exhausted, but my spirit is deeply fulfilled.

As you enter your eighth decade, we celebrate your previous seven and reflect upon your enormous contributions since arriving in the United States, from Calcutta (Kolkata) forty-five years ago—a gift beyond measure!

Once referred to as the “Johnny Appleseed of kathak dance” you aimed high from the very beginning. “I want to add another flower to the American bouquet of artistic diversity.” And what a splendid bouquet has bloomed from the initial seeds you planted in California in the early 1970’s.

Through your unparallel solo concerts, you have made this art form accessible to the masses. Unique, breathtaking, deeply moving, artistically expansive and innovative—your performances have brought joy and inspiration to innumerable thousands worldwide.

Through your consistent, dedicated and unwavering teachings, generations of highly trained kathak dancer-educators have been born. Starting with your first generation dance company—comprised of “foreign” (non South Asian) students whom you trained for those first 15-20 years; who then took up the challenge to perform and ultimately teach authentic and classical dance of another culture. These beginnings of the California Gharana have blossomed into your “rainbow coalition” Chitresh Das Dance Company (2nd, 3rd, and 4th generations) and into Chhandam as a highly respected cultural institution, with connecting organizations around the globe established by long-time disciples.

Through your pioneering efforts came the first accredited kathak dance program in an American University in the 1980’s (San Francisco). This paved the way for kathak to be taught in US and Canadian universities by others today, providing hundreds of curious college students the opportunity to learn about, and experience, a high standard of kathak in the classroom setting.

By devoting your time and energy to teaching the Indian Diaspora, you have given the gift of cultural connection and identity to those living outside of India, as well as to those living in India!

By fine-tuning your teaching methods over the years, and focusing on kathak as being a yogic endeavor, your Kathak Yoga sets the gold standard for training and riyaz (practice) and will continue to be valued by future generations as a key element of your legacy.

By continually setting the bar higher for yourself and holding yourself accountable for these standards, you have challenged and inspired others to reach for their highest potential and to believe in themselves.

I believe that kathak provides

a way to understand the self,

And through understanding of self,

realize the art,

And through realizing the art,

attain freedom—

A freedom that come through

the refined art of discipline with responsibility.

As with all paths, your journey as a kathaka has not been easy one. Nor have you ever asked that it be. To all of us (students, disciples, observers, friends and family) you are an example of the principles you teach. By holding true to your personal vision, to your belief in the universality of kathak, and to sadhana as a devoted practice—one that brings “physical fitness, mental stability and spiritual awareness”— you continue to elevate the art form and to enrich the consciousness of those whose lives you touch.

On October 4th, Senior members of the Chhandam Youth Dance Company performed on the steps of San Francisco City Hall as part of the 5th Annual Global Walk for India’s Missing Girls. The girls performed Rangmanch in simple red and white costumes. The event and walk was to bring to light the problem of gender discrimination against women in India, across all stages of their lives.

Here, Gauri Bhatnagar (one of the performers) and her mom, Amy Bhatnagar, answer a few questions about the event and performance:

How was this different than other performances?

Gauri: I feel that this performance had more of a meaning, personally, because I can relate to this a bit since I’m adopted.

Amy: I have seen Gauri perform at Davies Symphony Hall, The Palace of Fine Arts, and several other venues around the Bay Area. I have to say that this was probably my favorite performance of hers that I have seen. The combination of the white and red simple costumes, the meditative music, and the cause they were performing for, made this performance take on a much deeper meaning than the others.

How did you feel during the performance?

Gauri: I felt proud that I could make people more aware of this problem through dance. I’m glad that I was there.

Amy: Every time Gauri performs, I get a little teary eyed, and this time was no exception. I am amazed at her courage to perform in front of others. This performance was so meaningful and powerful and really embodies the values that Chhandam has. Chhandam is helping all of these girls grow into strong, courageous, and confident young women.

What did this performance and cause make you think about?

Gauri: How my life would have been different, if I had stayed in India. Could some of this have happened to me?

Amy: Both of my children are adopted from India. It’s so hard not to think about the ‘what-ifs”. What if their birth-mothers hadn’t made an adoption plan? What if they had decided to keep them? What if they had not gotten adopted and remained in the orphanage? I feel so thankful that their birth-mothers had the courage to give their babies a chance at a better life.

Question: Please tell us a little about your self and your journey in becoming the first Indian American to be elected to San Jose City Council.

Ash: I grew up in San Jose to immigrant parents from India. Back then the Indian community was small but growing. My parents tried to instill Indian values and culture in my brother and I, but in competition with many outside influences. Cultural offerings from India in the Bay Area were not as available then as they are now.

From a relatively young age, I was drawn to public service; by that, I certainly do not mean elected office or politics. Rather, I had a deep desire to help those less fortunate than me. As I went on to college and law school, the sense of helping to empower others that at a moment in time feel powerless became my passion. With that in mind, I worked as a deputy public defender in Santa Clara County for eleven years. All the while, I got more and more engaged in community engagement by joining numerous non-profit boards, teaching at SJSU and Lincoln Law School of San Jose, starting a neighborhood association, mentoring youth, and ultimately joining the city of San José’s Human Rights Commission and then Planning Commission. In 2008, I ran for San José City Council against five other candidates and was fortunate enough to win.

While in office, I have maintained the same principles by which I have been guided by over the years in advocating for environmental justice, access to transit and affordable housing, a reduction in income inequality with an increase in opportunities in education and the job market for all, marriage and gender equality in the public and private sector, access to healthcare for all, support of the arts and the creation of good jobs that pay a living wage.

Question: What role does Chhandam play in your community? What do you think that Art does for our society?

Ash: The arts play a critical role in our society that is unfortunately undervalued, particularly in today’s technology driven world. There is no doubt that thoughtful, compassionate children are best nurtured with a wide-ranging array of educational and cultural experiences. The arts play the most fundamental role by igniting curiosity, creativity, and even critical thinking through innovative and emotional methods. Chhandam is a great example of the kind of artistic offering to our youth that helps them to grow into fully mature and active members of our society. The youth who learn and participate in Chhandam not only gain a greater appreciation for music and dance, but also become leaders in our community by connecting how our collective thoughts, actions and emotions build the foundation for a compassionate, productive society.

Question: What are the reasons you have chosen to be a long time supporter of Chhandam & the Chitresh Das Dance Company?

Ash: I have appreciated and supported the arts community even before I was elected to my current office. I know that the arts provide support and assistance to so many other services and functions of government. I specifically support Chhandam and the Chitresh Das Dance Company because I have seen first hand the dedication of Pandit Das and the other instructors and staff to convey the deepest meanings of the art form while building leaders in our community. There are very few artistic endeavors that I have witnessed as successful as Chhandam in achieving the goal of preserving an art form while building productive citizens over multiple generations.

Question: Tell us a little about yourself and your work with 3rd I Films?

Alka: I am a filmmaker and a painter currently working on a feature documentary called Burqa Boxers, about Muslim female boxers in Kolkata, India. It was developed with the support of ITVS’ (a Center for Public Broadcasting affiliate) Diversity Development Fund. Burqa Boxers was invited to the Open Doors co-production market at the Locarno Film Festival in 2011 where it was awarded the top prize. In 2012 Locarno Film Festival and Celeste Images hosted a photography and art installation show based on the project.

My fiction project The Conqueror was one of the projects selected for Berlin Talent Project Market in 2008, and also Tribeca All Access, where I was awarded the L’Oreal Woman of Worth Vision Filmmaker Award. My short films Tired of Dancing, Panchali and The Ant and The Monkey have screened at various festivals in the US and abroad. Panchali received the John Gutman award for innovation in cinema and was a regional finalist in the Student Academy Awards (2004). The Ant and The Monkey received the Emerging Arts Fund in Spring 2006 from The Peninsula Community Foundation and were nominated for the Princess Grace Award in 2005. My paintings have been exhibited in galleries and Museums in New York.

3rd i and I started our journeys together in 2003, when they screened my first short film, Tired of Dancing, in their first film festival. 3rd i has since screened all my short films. 3rd i is a wonderful festival with a mission to encourage filmmakers (especially female filmmakers) and performance artists in their festival and during their monthly screenings. They are extremely inclusive not only in their politics but also in the various types of films they promote from art house narrative, cutting edge experimental, documentary to popular films from the Subcontinent.

I have worked with them in various capacities, as a filmmaker, as a volunteer, and as a festival manager in 2012.

Question: How did the video collaboration with CDDC and 3rd i Films come about?

Alka: CDDC and 3rd i Films are two of the most established arts organizations in the Bay Area. They have always been extremely supportive of each other. CDDC has co presented films during the San Francisco International South Asian Film Festival many times. This year 3rd i’s festival focus is music and dance, in which they are screening Upaj: Improvise a documentary by Hoku Uchiyama, featuring Pandit Chitresh Das and Jason Samuels Smith.

The desire to collaborate in addition to supporting each other has always been there, especially since we both share similar progressive ideas and believe in crossing borders between various art forms. Celine Schein, (Executive Director of the Chitresh Das Dance Company) was instrumental in bringing this collaboration to fruition with 3rd i Films and the Creative Work Fund, a grant that has made our work together possible. As a filmmaker I was thrilled to be included in this project. This is the first time I am collaborating with dancers in a live performance. To be granted the opportunity to push my own boundaries as a storyteller and also to work with such strong and established artists has been an incredible gift.

Question: What has been your experience been like working with Pt. Chitresh Das on ‘Yatra’?

Alka: My experience working with Pandit Chitresh Das has been extremely inspiring. As artists we are constantly responding to the world around us, and I can safely say that the vignettes I have created for the project are a true result of responding to these two incredible artists and their collaboration. I could not have conceived them had I not come into contact with them.

I was excited and nervous before starting the collaboration about working with an artist of Pandit Chitresh Das’s caliber but nervous too, about the process of defining the collaboration. I had watched him perform live with Jason Samuels Smith, and had seen video clips of his work with Antonio Hidalgo Paz. They seemed so beautifully assembled and complete that I struggled to figure out what I’d be bringing to the table. I certainly did not want to detract from the amazing live performance.

The kernel of the idea of what my contribution would look like came into being after our first meeting, when he spoke about an artist’s role in the context of the current politics of unabashed aggression, globally. The idea of Yatra as a personal journey dissolving borders was already implied in the title. I decided to make it into a cinematic story that gave the performance a concrete narrative.

When I discussed the idea of including poetic narration with imagery that alluded to a shared history on our second meeting with Pandit Chitresh Das, he was extremely open-minded and receptive. He not only embraced the idea wholeheartedly, encouraging me to pursue it, but he also offered intuitive and concrete suggestions to flesh it out. I think it is a mark of a great artist to be so self assured in his own art form that he can be so flexible and open minded to other’s ideas. It has been a great personal journey for me on which I have learnt ways to be always open to learning.